After being released from prison, Lee Geum-ja, an innocent woman, who is accused of a murder she didn't commit, makes her mind to revenge from the evil police officer that forces her to confess of the murder and a teacher, by making a unity with friends from prison, beside her search for her daughter she has to leave.
The films strain to present some kind of moral compass, a philosophy of revenge's human toll. But in the end, their sadistic glee in creative bloodshed trumps all.
Squanders plot impetus, and even with constant crosscutting it's lethargically paced, slogging through soap-operatic back stories and maddening irrelevancies.
Apart from Park's impressive but ultimately hollow style (his images are impeccably composed and visually inventive), Lady Vengeance is still an exercise in wretched excess (though less extreme than its predecessors).
in Lady Vengeance, revenge is ultimately a shabby, sordid business that leaves everybody soiled and in need of purification - or at least of a pie in the face.
Park Chanwook works his Grand Guignol sense of humor against Korean social conditions to effect a call-and-response logic to the metaphoric and literal things that happen onscreen.
